French Sculpture Census

crédits photo : Yale University Art Gallery /
© artiste : Fair Use (Section 107, Copyright Act, 1976)

Blainville-Crevon, Seine-Maritime 1887 - Neuilly-sur-Seine, Hauts-de-Seine 1968

In Advance of the Broken Arm
(En prévision du bras cassé)

1915/1945 (réplique de 1945 de l'original perdu de 1915)
bois et pelle à neige en fer galvanisé

121.9 x 45.7 x 10.2

N° d'inv. : 1946.99
Credit Line : Gift of Katherine S. Dreier to the Collection Société Anonyme

New Haven, Connecticut, Yale University Art Gallery


  • 1946, don de Katherine S. Dreier à la Collection Société Anonyme


  • Museum's website, 23 April 2010 and August 2017
  • 1950 Yale University Art Gallery
    Collection of the Société Anonyme: Museum of Modern Art 1920 (New Haven, Conn.: Yale University Art Gallery, 1950), 150
  • 1984 Herbert
    Robert L. Herbert, Eleanor S. Apter, and Elise K. Kenney, The Société Anonyme and the Dreier Bequest at Yale University: A Catalogue Raisonné, New Haven, Conn.: Yale University Press, 1984, 244, no. 241
  • 2006 Bohan
    Ruth L. Bohan et al., The Société Anonyme: Modernism for America, ed. Jennifer Gross, exh. cat., New Haven, Conn.: Yale University Art Gallery, 2006, 172, ill.
  • 2009 Holl
    James Holl, The Landscape Painter: An Autobiography 1974 Through 1994, New York: Charta, 2009, 112, pl. 104, ill.


Museum's website, August 8, 2017:
In 1915 Marcel Duchamp purchased a snow shovel in New York City and signed it, declaring it a work of art. Through this revolutionary gesture, he produced his first “Readymade,” an object that was recognized as art through the artist’s intention, selection, and presentation rather than through the object’s construction. The humorous and subversive title introduces a new context for the work, altering the viewer’s relationship with what was previously a mundane and commercial object.